Working from a place where you don’t know the outcome, but by an intuitive process you find where you might begin; you start eliminating, reducing your chosen area down to its particulars. I call this aspect of my work: zen on a dime; where you don’t have to spend money to bring about some semblance of beauty.
I have hundreds of such projects, those hidden gems that required no money, just time so that they could devolve their hidden beauty. Around my home, they abound; they are my way to sustain a creative flow. People think you have to spend money to make something beautiful; I believe you just have to cultivate your own sense of what is beautiful. Maybe it began for me when I read years ago that we should take one part of our yard and make it a secret garden, a place where you can call your own.
My designs come from the client’s stated desires of what they want their project to look like: the things that they come up with I build into a working design.
Visualize the earth floating in space.
Up close, the sky that makes up our atmosphere is the negative space that surrounds us orbiting the sun: beyond that is the cosmos, or the innumerable universes.
Space in itself is neither negative or positive until an object displaces space. Thereby negative space is created.
Could it be the same with our thoughts: there is the thought that we can do something often followed by the thought that we can’t.
I guess we can err if we think otherwise. As we ought not to have that thought, or sometimes the thought turns solid and becomes positive space: something that occupies our mind.
Let the negative thought just be the space that surrounds the positive thought.
Banksy, The Street Is in Play (2013), located on New York’s Allen Street between Hester and Canal. Photo: Banksy, via Instagram.
We know art to be that which people do whom are creative.
But what do designers do and how does that differ from art?
Designers start with a problem: something that needs a way to be done.
Another way put: they start with a what and come up with a how.
Something as conventional as a fence can be seen as a problem to be solved if the client wants something above the panels sold at Home Depot. Lets say they want their fence to provide privacy and to look good. And lets add another factor: cost. They don’t want to spend that much more.
The designer must take into account these three considerations: privacy, beauty and cost.
Art is another matter all together.
Art is political, sociological and anthropological. Art asks questions. Makes commentary and keeps evolving. It’s personal.
Normally a fence would not be seen as political. But if this self same fence is being built by politicians to keep people from another country from entering, then you could say its political. Which does not means it’s art only that the design had an intent that is political.
Now, if Bansky came alone and tagged this same wall, the result could be termed art. Some people may term it vandalism.
This is the third attempt at trying work through something that I have thought would be a good fence prototype; the first two attempts I have consigned to the scrap heap; this one is close but I feel I have to make a leap beyond it. Keep in mind there is at least 5 feet between post whereas with my model there is only 16 inches.
I turn to music first to even begin to understand rhythm.
As I write, I am listening to rap music that is highly beat driven. Not being musically incline, I confused beat with rhythm. But the beat stays the same, while the rhythm changes with the words.
In architecture maybe it’s like a prisoner doing time, and to mark the days they scratched a line, and for what ever reason they grouped it into fives and on the fourth beat they inscribed a diagonal line. Now we have an establish rhythm.
We relate rhythm to music but all the arts share similiar principles.
Fences can be compositions in space where as music is compositions dependent on time.
As with music, fence design is really just groupings of numbers with emphasis on “repetition,” “interval,” and “accent.”
Interval being the space between things, with repetition being the recurrence of strong and weak elements and accent is an emphasized detail, especially a small detail in sharp contrast with its surroundings.
We like to take credit for what later we see as obvious but the cross was not part of the original choices; it came by way of the choices that proceeded it.
First design decision was to break the deck into two sides with a middle break board; second design decision was to picture frame the perimeter.
From these choices made, a cross appeared that we accented by switching from yellow wood to green wood.